THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair

presents

E. Blakeney Hatcliff, soprano Junior Recital

assisted by Mrs. Nicole Harwell, piano

Saturday, February 27, 2010 5:00 p.m. Belhaven University Center for the Arts Concert Hall

BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC MISSION STATEMENT The Music Department seeks to produce transformational leaders in the musical arts who will have profound influence in homes, churches, private studios, educational institutions, and on the concert stage. While developing the God-bestowed musical talents of music majors, minors, and elective students, we seek to provide an integrative understanding of the musical arts from a Christian world and life view in order to equip students to influence the world of ideas. The music major degree program is designed to prepare students for graduate study while equipping them for vocational roles in performance, church music, and education. The Belhaven University Music Department exists to multiply Christian leaders who demonstrate unquestionable excellence in the musical arts and apply timeless truths in every aspect of their artistic discipline.

The Music Department of Belhaven University directs you to “Arts Ablaze 2009-2010.” Read about many of the excellent performances and presentations scheduled throughout this academic year at Belhaven University by the Arts Division. Please take a complimentary copy of “Arts Ablaze 2009-2010” with you.

The Music Department would like to thank our many community partners for their support of Christian Arts Education at Belhaven University through their advertising in “Arts Ablaze 2009-2010”. It is through these and other wonderful relationships in the greater Jackson community that makes an afternoon like this possible at Belhaven. We praise God for our friends and are truly thankful for their generosity. Please mention The Arts at Belhaven University when you visit our community partners.

If you would like to receive email news-concert updates from the Belhaven University Music Department, please add your name and email address to the sign up sheet on the table in the foyer. It would be our pleasure to keep you informed regarding the recitals/concerts to be presented by the Music Department at Belhaven during the Spring Semester, 2010.

Thank you to those working behind the scenes to make today’s program a success: Dr. Andrew Sauerwein, music faculty supervisor; student workers – Tory Senete, door manager; Abby Wiggins and Rachel Reese, ushers; Zak Valle, recording/sound technician; Andrew Craig, lighting technician; Erin Andrus, stage manager; John Mathieu, stagehand; Alicia Kleeves, Abigail Crumley and Roberta Sachs, reception assistants.

Upcoming Events:

Thur., Fri. & Sat., March 4, 5 & 6, 7:30pm, “You’re a Good Man, Charlie Brown”, dessert theater McCravey – Triplett Student Center Dining Commons Tuesday, March 9, 7:30pm, Concert Hall Student Composers Concert VII Saturday, March 27, 2:00pm, Concert Hall Abby Wiggins, Junior Recital Friday, April 9, 7:30pm, Concert Hall Belhaven String Chamber Orchestra Concert Saturday, April 10, 3:00pm, Concert Hall All State Strings Concert Tuesday, April 13, 7:30pm, Concert Hall Belhaven University & Jackson Community Symphonic Band, Jazz Ensemble and Percussion Ensemble Concert Saturday, April 17, 7:30pm, Concert Hall Guitar Ensemble Concert Tuesday, April 20, 7:30pm, Concert Hall Best of Belhaven II Saturday, April 24, 7:30pm, Concert Hall “Glory To God” – Belhaven University and Jackson Community Symphony Orchestra & Choral Arts Concert

There will be a reception in the foyer after the program. Please come and greet the performers. Please refrain from the use of all flash photography. Please turn off all pagers and cell phones. PROGRAM

Quia Respexit Johann Sebastian Bach (1685-1750) Quia respexit humilitatem ancillae suae; Because He has regarded the low estate of his slave girl; Ecce enim ex hoc beatam me dicent. For look, from now on (they) will call me blessed.

Geheimes Franz Peter Schubert Uber meines Leibchens Augeln At my darling’s questioning gaze (1797-1828) Stehn verwundert alle Leute; Everyone stands wondering; Ich, der wissende dagegen, I however, who am in the secret, Weiβ recht gut, was das, bedeute. Know very well what that beckons. Den es heiβt: Ich liebe diesen, For it means: “I love this one; Und nicht etwa den und jenen. And not perhaps that one or that one; Lasset nur, ihr guten Leute, Pray cease, good people. Euer Wundern, euer Sehnen! Your wondering, your expectancy!” Ja, mit ungeheuren Mächten Yes, yes with prodigious effect Blikket sie wohl in die Runde; She casts her eye around the assembly; Doch sie sucht nur zuverkünden But she only seeks to apprise Ihm die nächste süβe Stunde… “Him” of the next sweet tryst…

Litanei Ruhn in Frieden alle Seelen, Rest in peace all souls Die vollbracht ein banges Quälen, Who have finished an anxious torment, Die vollendet süssen Traum, Who have finished a sweet dream, Lebenssatt, geboren kaum, Sated with life, born hardly, Aus der Welt hinüber schieden: From the world gone over departed: Alle Seelen ruhn in Frieden! All souls rest in peace!

Liebevoller Mädchen Seelen, Love full maiden souls, Deren Tränen nicht zu zählen, Whose tears not to be counted, Die ein falscher Freund verliess, Who a false friend have left

Und die blinde Welt verstiess: And the blind world disowned; Alle, die von hinnen schieden, All, who from here have parted, Alle Seelen ruhn in Frieden! All souls rest in peace!

Und die nieder Sonne lachten, And those upon whom the sun never smiled Unterm Mond auf Dornen wachten, Beneath the moon on the thorns watched, Gott, im reinen Himmels-Licht, God, in the pure heavenly light Einst zu sehn von Angesicht: Once to see in the face: Alle, die von hinnen schieden, All, who from here have parted, Alle Seelen ruhn in Frieden! All souls rest in peace!

Gretchen am Spinnrade Meine Ruh' ist hin, mein Herz ist schwer, My peace is gone, my heart is heavy, Ich finde sie nimmer und nimmermehr. I will find it never and never more.

Wo ich ihn nicht hab ist mir das Grab, Where I do not have him, that is the grave, Die ganze Welt ist mir vergällt. The whole world is bitter to me.

Mein armer Kopf ist mir verrückt, My poor head is crazy to me, Mein armer Sinn ist mir zerstückt. My poor mind is torn apart.

Meine Ruh' ist hin, mein Herz ist schwer, My peace is gone, my heart is heavy, Ich finde sie nimmer und nimmermehr. I will find it never and never more.

Nach ihm nur schau ich zum Fenster hinaus, For him only, I look out the window Nach ihm nur geh ich aus dem Haus. Only for him do I go out of the house.

Sein hoher Gang, sein' edle Gestalt, His tall walk, his noble figure, Seine Mundes Lächeln, seiner Augen Gewalt, His mouth’s smile, his eyes’ power, Und seiner Rede Zauberfluß, And his mouth’s magic flow, Sein Händedruck, und ach, sein Kuß! His handclasp, and ah, his kiss!

Meine Ruh' ist hin, mein Herz ist schwer, My peace is gone, my heart is heavy, Ich finde sie nimmer und nimmermehr. I will find it never and never more.

Mein Busen drängt sich nach ihm hin. My bosom urges itself toward him. [Ach]1 dürft ich fassen und halten ihn, Ah, might I grasp and hold him!

Und küssen ihn, so wie ich wollt, And kiss him, as I would wish, An seinen Küssen vergehen sollt! At his kisses I should die!

D’une Prison Reynaldo Hahn (1874-1947) Le ciel est, par-dessus le toit, si bleu, si calme! The sky above the roof, so blue, so calm! Un arbre, par-dessus le toit, berce sa palme. A tree, above the roof, waves its crown.

La cloche, dans le ciel qu'on voit, doucement tinte. The bell, in the sky I watch, gently rings. Un oiseau sur l'arbre qu'on voit chante sa plainte. A bird, on the tree I watch, plaintively sings.

Mon Dieu, mon Dieu! la vie est là, simple et tranquille. My God, my God, life is there simple and serene. Cette paisible rumeur-là vient de la ville. That peaceful murmur there comes from the town.

* Qu'as-tu fait, ô toi que viola pleurant sans cesse, O you, O you, what have you done, weeping without end, Dis, qu'as-tu fait, toi que voilà, de ta jeunesse? Say, O say, what have you done with all your youth?

Mai Depuis un mois, chère exilée, It is a month, dear exile, Loin de mes yeux tu t'en allas, Since you vanished from my gaze, Et j'ai vu fleurir des lilas And I have watched the lilacs bloom Avec ma peine inconsolée. With my sorrow unassuaged.

Seul, je fuis ce ciel clair et beau Alone, I avoid these lovely clear skies, Dont l'ardent effluve me trouble, Whose blazing rays disquiet me, Car l'horreur de l'exil se double For an exile’s dread increases De la splendeur du renouveau. With the splendour of nature’s renewal.

En vain le soleil a souri, In vain the sun has smiled; Au printemps je ferme ma porte, I close my door to the spring, Et veux seulement qu'on m'apporte And wich only to be brought Un rameau de lilas fleuri; A lilac branch in bloom!

Car l'amour dont mon âme est pleine For Love, which fills my heart to overflowing, [Retrouve, parmi]1 ses douleurs Finds among its sorrows Ton regard dans ces chères fleurs Your gaze in the midst of those dear flowers, Et dans leur parfum ton haleine. And in their fragrance your sweet breath!

L’heure exquise La lune blanche luit dans les bois. The white moon shines in the woods. De chaque branche part une voix sous la ramée. From each branch springs a voice beneath the arbor. O bien aimé[e]... Oh my beloved….

L'étang reflète, profond miroir, la silhouette Like a deep mirror, the pond reflects the silhouette Du saule noir où le vent pleure. Of the black willow where the wind weeps. Rêvons, c'est l'heure. Let us dream! It is the hour…

Un vaste et tender apaisement semble descendre A vast and tender calm seems to descend du firmament que l'astre irise. from a sky made iridescent by the moon. C'est l'heure exquise! It is the exquisite hour! The Message Lee Hoiby Lady of the Harbor (b. 1926) Where the Music Comes From

Chi il bel sogno from Chi il bel sogno di Doretta Doretta's beautiful dream (1858-1924) Potè indovinar? Who could guess her beautiful dream? Il suo mister come mai Why her mystery came to an end Come mai fini Ahimè! un giorno uno student One day a student kissed her on the mouth In bocca la baciò And that kiss was the revelation: E fu quel bacio It was the passion! Rivelazione: Mad love! Fu la passione! Mad happiness! Folle amore! Who will ever be able again Folle ebbrezza! To describe the light caress Chi la sottil carezza Of a kiss so burning? D'un bacio cosi ardent Oh! My dream! Mai ridir potrà? Oh! My life! Ah! mio sogno! Who cares for wealth Ah! mia vita! If at last happiness flourishes! Che importa la ricchezza Oh golden dream Se alfine è rifiorita To be able to love in this way La felicità! O sogno d'or Poter amar così!

Program Notes Quia Respexit is the second aria in Johann Sebastian Bach’s Magnificat, based on Luke 1:46-55. It is commonly known as “Mary’s Song”, written after Mary is told she will be given birth to the Christ Child. My favorite part of this is the Oboe. Its bitter sweet sound reminds me of Mary’s joy at the news of her unborn child and the fears and concerns she might have had due to the road ahead, along with her faith in God that his will was being done, in and through her.

Franz Schubert was the backbone of 19th century Lieder, a German art song that usually uses poetry and is centered around romantic love. He was very detailed in the songs he wrote and began the process of bringing out the piano almost to the same importance of the voice, which Schumann would later finish. Schubert loved to have the piano mimic the sounds of objects in his piece as is seen in one of the pieces of this set. Gehiemes is about two lovers in a room full of crowded people and how they can communicate with each other with just a look. You can hear the flirty, playful tone of the two lovers in the quick rhythm and staccato notes. Litanei is a song written for All Saints Day, a Catholic Holiday that celebrates all saints known or unknown that have died and occurs on November 1st. This song remembers those who have “smiled on the sun”, those that have not and those maidens who have died of a broken heart. Gretchen am Spinnrade has been one of my favorite songs I sung over the past three years. It was Shubert’s first masterpiece at the age of 16 and is a “spinning song,” meaning that the girl, Gretchen, is sitting at a spinning wheel while singing this song about , her former lover. You can “hear” the spinning wheel in the accompaniment’s repeated, rhythmic notes and listen as her emotions become too much when she remembers his Küβ, kiss. The spinning wheel stops and regains its motion, and she regains her composure.

Hahn was a singer in his own right, which is made evident through his writing. He paid very close attention to how the poetry and melody fit together and kept his writing very simple. D’une Prison, was a poem written by Paul Verlaine, who was imprisoned for the attempted murder of his companion and fellow-poet, Arthur Rimbaud, at one point in his life, and set to music by Hahn. This poem, which resulted from Verlaine's experience, received memorable musical settings by both Fauré and Hahn. In his version, Hahn uses the piano accompaniment to establish a sense of the slow passage of time as the poet sits alone in his prison cell. The mood is calm at first, but becomes increasingly agitated as the prisoner reflects on his wasted youth. After an outburst of desperation, Hahn returns to the serenity with which the song began and repeats the first line of the poem, suggesting that little changes in this bleak setting. Mai is the French name for a spring god. This song is about one whose love has been either exiled from them or, for some reason, is no longer with them and the coming of spring is making the separation worse. L’uere Exquise was my first French piece and its words were also based on poems by Verlaine. You can almost see the moon that is being sung about. The constant arpeggiation in the accompaniment and soft dynamics give a hypnotic effect that furthers the feel of a moonlit night.

Lee Hoiby once said “I love words. I love language. I take special care that the words should be understood, and not only that, the music should help them further, to elucidate the feeling, the meaning of words, otherwise there is no reason to set it to music.” All three of the songs in his set showcase his love for words and his ability to relate the music to the words. The Message is about love scorned and abused. It is full of emotion both in the lyrics and phrasing along with the accompaniment. Notice the two warring passions of hurt and vengeance in this piece. Lady of the Harbour is maybe my favorite of these three pieces. Hoiby wrote this piece based on Emma Lazarus’ poem The New Colossus, written for the centenary of the Statue of Liberty. Listen for the patriotism that is exemplified in the passionate lyrics and phrases. Also, notice the accompaniment and the way it mimics the crashing waves that surround the Statue itself. Where the Music Comes From is the lighter of this Hoiby collection. He originally wrote and dedicated this song to “The Guide,” a support group with which he was associated. The song’s playful accompaniment and moving melody line give this piece a happy, light-hearted feel. Notice how what the accompaniment plays and what the lyrics are saying correspond in the speed and sound of the piece.

Chi il bel sogno is from Giacomo Puccini’s La Rondine. It was written for Viennese producers that asked for an operetta, but the composer had already stated he would never write such a thing. So instead, he composed an opera that had a lighter color and a more tuneful sound. The opera is set in Paris c. 1855-1860 and shows some of Pucinni’s allusions to other styles and composers, including waltz rhythm and maybe some quoting from Debussy in the opening of the third act and Richard Strauss’ opera Salome. This song tells the story about Prunier, the poet, and his song. He is playing to an upper class saloon and sharing the concept that is all the rage in Paris: sentimental love. Everyone shrugs it off and does not take it seriously. Everyone that is, except Magda. She listens to the Story of Doretta, the heroine of the story who ignores the treasure she could have had a as a king’s wife all in order to have true love. As Prunier is playing at the piano and singing this tale, he suddenly has a lapse and Magda, moved by the story, takes over for him but adds a little bit of her own. By the end of the song, she is completely wrapped up in the song and her own thoughts.

DEPARTMENT OF MUSIC FACULTY AND STAFF Dr. Stephen Sachs, pianist, chair; Dr. Paxton Girtmon, director of bands, woodwind specialist; Dr. Andrew Sauerwein, composer, theorist; Dr. Christopher Shelt, coordinator of vocal activities, director of choral ensembles, Song Xie, violinist, director of string ensembles; Nancy Bateman, cello adjunct; Dennis Bonds, jazz guitar adjunct; Richard Brown, string bass adjunct; Melvin Champ assistant band director adjunct; Sybil Cheesman, flute adjunct; Dr. Dennis Cranford, music theory adjunct; Lisa Davis, French horn adjunct; Mark Davis, low brass adjunct; Dr. David Dick, music theory and trombone adjunct; Judy Dodson, clarinet adjunct; Carol Durham, organ adjunct; Gena Everitt, vocal adjunct; Dr. Rebecca Geihsler, vocal adjunct; Reca Girtmon, drill team instructor adjunct; Anne Gray, vocal adjunct; Barry Hause, classical guitar adjunct, director of guitar ensembles; Paul Heindl, percussion adjunct, director of percussion ensembles; Andrew Lewis, piano adjunct, Randy Mapes, double reed adjunct; Ana Catalina Ramirez, clarinet adjunct; Anne Katherine Ragsdale, piano adjunct, Elizabeth Richardson, vocal adjunct; Carolyn Sachs, piano adjunct, Singing Christmas Tree director; Nicole Harwell, staff accompanist; Lloyd Turner, trumpet adjunct; Rodney Vaughn, vocal adjunct; Dr. Brenda Wilder, piano adjunct; Karen Johnston, administrative assistant

BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC, OUR MUSIC MAJORS! Erin Desmond Andrus, Joel Andrus, Michael Baker, David Barfield, Kimberly Barry, Bethany Basham, Jacqueline Bateman, Damien Bone, Luke Bowers, Sarah Bravo, Skyler Bready, Jimmy Brown, Shellie Brown, Thomas Callen, Chris Carlson, Andrew Craig, Hannah Cross, Abigail Crumley, Anna Cullnane, Eleana Davis, Hannah Davis, John Farrar, Matthew Forester, Alice Grimwood, Michael Hall, Joshua Harton, Blakeney Hatcliff, Amanda Hester, Daniel Hicks, Ellie Honea, Ann Howard, Emmberly Jefferson, Sam Johnson, Daniel Johnston, Sarah Jones, Temperance Jones, Alicia Kleeves, Rebeka Larson, Lavuntae Lashley, Malcom LaTour, Joshua Lee, Suzannah Martin, John Mathieu, Joseph McCullough, William Anthony Peacock, Lauren Pratt, Rachel Reese, Roberta Sachs, Victoria Senete, Michael Shofner, Grace Slowik, Zachary Stafford, Stefanie Stoll, Victoria Jelstrom Swilley, Hannah Thomas, Sarah Valle, Zak Valle, Larry Walker, Julia Watkins, James White, Abby Wiggins, Jonathan Winborne, Jocelyn Zhu

BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC, DECEMBER 2009 GRADUATES! Ann Johnson, Johanna Rossman, Valerie Tate